DOCSLIB.ORG

Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY April 1997 -- Issue 52

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY April 1997 -- Issue 52 Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY April 1997 -- Issue 52 Tentative Pinafore Outing Member Hugh Locker has offered to organize a Midwestern Gilbert and Sullivan Society Outing to one of the matinee performances of Light Opera Works' June 8, 1997, performance of H.M.S. Pinafore, depending on if enough people want to go. If you are interested in going, call him right away: (815) 385-3676 The final price for the outing has yet to be determined, but figure on the show tickets costing between $40.00 and $50.00, plus dinner afterwards. As these affairs generally work, participants make their own arrangements to get to Cahn Auditorium. Hopefully, enough people would be interested to get a group rate on the tickets. We need at least 20 people to get a group rate (tell your friends!). Afterwards, everybody goes to some local restaurant for dinner. Everybody pays their own checks, which saves a lot of calculations and bad feelings later. These arrangements have worked out pretty well in the past, though. This outing may come off, or it may not: Please call Hugh Locker at (815) 385-3676 by May 10, 1997 so plans can be made or cancelled. Fair moon, to thee I sing, Bright regent of the heavens, Say, why is everything Either at sixes or at sevens? Here we are again, and I'm sorry about the delay. Things here have really been at sixes and sevens for the last several months. But with the cheerful sunshine of (and the flowers that bloom in the) Spring, we'll get there. There are lots of newsletters from other societies that I still have to go through, and other possible articles that need compiling, and we will try to get them put together by the next issue. In the meantime, we have something of a Pinafore issue: not only are we trying to organize an outing to Light Opera Works' Pinafore, but we have a description of an old advertising flyer that used Pinafore characters to promote the product, and a description of George S. Kaufman's musical The Hollywood Pinafore. There are some other non-Pinafore items as well, like an announcement of a new murder mystery connected to a production of Ruddigore, so let's see where we go from here. Oh, Members, How Say You, what is it you've Sullivan mug, George C. Weber, who won a 1997 Inter- done? national Gilbert and Sullivan Festival calendar; Ron Fava, winner of a MGS calculator and a set of the The winners in 1996's Big Quiz have been identified, Gilbert and Sullivan in America picture postcards from and thanks to Norman Vogt, we have prizes for them!. David Stone; and Phocion Park, who received a copy of The winners were Thomas Drucker, who won an Arthur Jane Stedman's W.S. Gilbert: A Classic Victorian & His Precious Nonsense, April 1997 -- p. 2 Theatre. Congratulations to the Big Quiz participants. Incidentally, if you surf the Net, why not visit Light We'll have another Big Quiz in the next issue of the Non- Opera Works' website at www.light-opera-works.org. sense. Also, see the notice on the front page: we’re hoping to get a group together to see the June 8 performance! Suanne Kuhn was instrumental (although she sings) in helping one of the Buckingham Friends School's clas- The Winnetka Theatre (620 Lincoln Ave., Winnet- ses with their unit on light opera /H.M.S. Pinafore. We ka, IL 60093 / (847) 446-0537) is expecting to stage, haven't heard what they did, and how it all came out, but what they describe as, "an updated version of this classic we'll look forward to it. musical," May 2, 3, 4, 9, 10, 16, and 17, 1996. Friday and Saturday performances are at 8:00 pm, Sunday per- formances are at 2:00 pm. Tickets should be about $11.00: to order tickets, call (847) 604-0275. What Cheer! What Cheer! {Midwest- ern} The 1997 Ohio Light Opera performance schedule includes Victor Herbert's Eileen, Strauss's Fledermaus, S/A Cole has heard a rumor that the Savoy-Aires are Patience, Messager's Véronique, Yeomen of the Guard, planning to stage The Gondoliers during 1997. This Lehar's Count of Luxembourg, and Romberg's The New rumor has not been confirmed independently, but if you Moon. Individual tickets for all performances are contact the company, they can probably fill you in. For $26.00. To order tickets, call the box office at (330) more information, contact the company at P.O. Box 126, 263-2329 or (330) 263-2345. Evanston, IL 60204, or call David Craven at (312) 862- Performance dates are: 7781. Eileen: June 10 (mat.), 12, 15 (mat.), 20, 21, 25 Another part of the rumor was that they may be in (mat.), July 8 (mat.), 11, 17, 26, August 2 (mat.), and 5 some financial difficulties: that was the reason for not (mat.) staging Princess Ida as originally planned. Whether or Yeomen of the Guard: June 11 (mat.), 14 (mat.), 24 not this rumor is true, the Savoy-Aires is always grateful (mat.), July 10, 20 (mat.), August 2, and 8. to its donors. If you would care to become one, contact The New Moon: June 13, 14, 19, 28 (mat.), 29 the company for more information (mat.), July 1 (mat.), 3, 6 (mat.), 9 (mat.), 16 (mat.), 23, 30, and August 9 (mat.) We learn from David Michaels that the Park Ridge Fledermaus: June 17 (mat.), 18 (mat.), 21 (mat.), 22 Gilbert and Sullivan Society (P.O. Box 339, Park Ridge (mat.), 27, July 5 (mat.), 12, 24, 30 (mat.), and August 9 IL 60068-0339) will be giving Yeomen of the Guard Count of Luxembourg: June 26, 28, July 2 (mat.) 13 May 2, 3, 4, 9 and 10, 1997, at the St. Mary's Episcopal (mat.), 19 (mat.), 25, 29 (mat.), and August 6. Church (306 S. Prospect, in Park Ridge). Tickets are Véronique: July 5, 12 (mat.), 18, 22 (mat.), 27 $9.00 ($8.00 for senior citizens). For more information, (mat.), 31, and August 6 (mat.). call (773) 774-8603. Director for this production will be Martha Maculas, and Jeff Richards is Music Director. Patience: July 15 (mat.), 19, 12 (mat.), 26 (mat.), Look for David Michaels as Sgt. Meryll. August 1, 3 (mat.), and 7. Evening performances are at 8:00 pm, and matinees are at 2:00 pm. Evidently, every Friday and Saturday eve- Sometime this summer, The Gilbert & Sullivan ning, there will be free pre-performance lectures at 7:00 Opera Company will most likely be presenting The Sor- pm. For more information about the Ohio Light Opera's cerer, an encore of their March production. We'll pass season, you can also write: The Ohio Light Opera, The on details as we learn them. College of Wooster, Wooster, OH 44691. Light Opera Works 1997 season will feature HMS From Norman Vogt, we have the flyer from the Phil- Pinafore (May 31, June 1 (mat.), 6, 7, and 8 (mat.)), adelphia International Gilbert and Sullivan Festival. One Touch of Venus (by Kurt Weil--August 15, 17 This year's festival starts in Berkeley, California (June (mat.), 22, 23, and 24 (mat.)), and The Merry Widow for 13-22: we don't have any information on this hub), con- New Year's Eve (and also December 27, 23 (mat.), 31, tinues in Philadelphia (July 19-27, or the 18th, if you January 2, 3, and 4 (mat.)). Ticket prices range from count one of the professional productions), and concludes $21.00 to $48.00, depending on where you want to sit. in Buxton, England (August 2-17, which we don't have Ticket prices for audience members 21 years old and any information on, either). If you're interested in attend- younger are apparently available at half-price. For more ing, or knowing more, about at least the Philadelphia hub, information, call Light Opera Works at (847) 869-6300. contact the festival at The Gilbert and Sullivan Festi- Precious Nonsense, April 1997 -- p. 3 val; P.O. Box 59285; Philadelphia, PA 19102-9285, or 10:30 pm: Festival Club -- including cabaret Pa- call or fax it at (215) 629-0672. Running with what tience ($5.00) we've got, it appears there are no "package deals" for the Thursday, July 24: 10:30 am: Film Festival continues festival attractions, so call for a flyer right away: you'll ($7.50) need it to figure out how much the attractions you're 10:30 am: Roberta Morrell workshop ($10.00) interested in will cost. It also lists where the events are 3:00 pm: Gillian Knight leads a masterclass ($15.00) going to be held. Apparently, the main site for the festi- val is the Annenberg Center. Anyhow, the schedule, 7:30 pm: Princess Ida (Derby Gilbert and Sullivan according to this flyer, is: Company, UK) ($40.00-$25.00) Friday, July 18: 7:30 pm: GG: a musical entertainment 10:30 pm: Festival Club -- including cabaret ($5.00) based on the life of George Grossmith, plus the Friday, July 25: 10:30 am: Film Festival continues Savoy Company and Nine Lives Travelling Players -- ($7.50) Cox and Box. Tickets: $40.00 to $25.00. 3:00 pm: Valerie Masterson leads a masterclass Saturday, July 19: 2:00 pm: Opening Ceremony Big ($15.00) Sing ($10.00) 7:30 pm: Utopia Limited (Montreal West Operatic 7:30 pm: Mikado, performed by the Gilbert and Society, Canada) ($40.00-$25.00) Sullivan Opera Company.
Load more

Recommended publications
  • A Midsummer Night's Dream
    9 TEATRO MASSIMO BRITTEN BENJAMIN B enjamin B ritten A MIDSUMMER NIGHT’S DREAM | MIDSUMMER NIGHT’S DREAM NIGHT’S MIDSUMMER Membro di seguici su: teatromassimo.it Piazza Verdi - 90138 Palermo ISBN: 978-88-98389-61-2 euro 10,00 SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI Fondazione ART BONUS Teatro Massimo Tasca d’Almerita Francesco Giambrone Sovrintendente Angelo Morettino srl CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) Presidente Giovanni Alongi Leonardo Di Franco Vicepresidente Daniele Ficola Sais Autolinee Francesco Giambrone Sovrintendente Enrico Maccarone Agostino Randazzo Anna Sica Marco Di Marco COLLEGIO DEI REVISORI Maurizio Graffeo Presidente Filippone Assicurazione Marco Piepoli Gianpiero Tulelli Giuseppe Di Pasquale Alessandra Giurintano Di Marco TURNI A MIDSUMMER NIGHT’S DREAM (Sogno di una notte di mezza estate) Opera in tre atti Libretto di Benjamin Britten e Peter Pears da A Midsummer Night’s Dream di William Shakespeare Data Turno Ora Musica di Benjamin Britten Martedì 19 settembre Prime 20.30 C Giovedì 21 settembre 18.30 Prima rappresentazione: F Venerdì 22 settembre 20.30 Aldeburgh Festival, 11 giugno 1960 Domenica 24 settembre D 17.30 Martedì 26 settembre B 18.30 S1 Mercoledì 27 settembre 18.30 Prima rappresentazione a Palermo Lo spettacolo sarà trasmesso in diretta da RAI Radio3 e in differita da RAI5 Allestimento del Palau de les Arts Reina Sofia di Valencia INDICE 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 2 ALESSANDRA SCIORTINO INTRODUZIONE ALL’OPERA 31 DARIO OLIVERI «SIGNORE, CHE PAZZI QUESTI MORTALI!» UN PERCORSO INTORNO AL MIDSUMMER NIGHT’S DREAM DI BENJAMIN BRITTEN 39 3 IL LIBRETTO 65 ATTO I 66 ATTO II 96 ATTO III 140 4 BENJAMIN BRITTEN 179 LE PRIME DI BRITTEN AL TEATRO MASSIMO 183 BIBLIOGRAFIA ESSENZIALE 191 NOTE BIOGRAFICHE 193 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 ARGOMENTO Sogno di una notte di mezza estate ATTO I Nel bosco Puck annuncia l’arrivo di Oberon e Titania.
    [Show full text]
  • LAST NAME FIRST NAME TITLE PUBLISHER PRICE CONDITION ? ? the Life of Fancis Covell E
    LAST NAME FIRST NAME TITLE PUBLISHER PRICE CONDITION ? ? The Life of Fancis Covell E. Wilmshurst, Blackheath $15 poor to fair ? ? Good Housekeeping's Book of Meals Good Housekeepind $23 poor ? ? A Supreme Book for Girls Dean & Son $10 good ? ? Personal Hygiene for Every Man and Boy A Social Guidance Enterprises $13 fair Abbey J. Biggles in Spain Oxford University Press $13 good with d/c Abbot Willis The Nations at War Leslie-Judge Co. $35 fair to good Abbott Jacob Mary Queen of Scots Makers of History $12 good Adler Renata Gone Simon & Schuster $20 Excellent with d/c Ainsworth William The Tower of London W. Foulsham $20 fair Ainsworth W. H. Windsor Castle Collins $8 fair to good Ainsworth W. H. Old St. Paul's Collins $10 good Ainsworth William Rookwood George Routledge and Sons $13 good to excellent Ainsworth W. H. The Tower of London Collins $5 good to excellent Alcott Louisa May Little Men Whitman Publishing Company $10 good Alcott Louisa May Little Women Goldsmith $22 good Alcott Louisa May Eight Cousins Whitman Publishing Company $7 fair to good Alcott Louisa Rose in Bloom Whitman Publishing Company $15 poor Alcott Lousia Little Women Juvenile Productions $5 fair to good with d/c Alcott Louisa An Old-Fashion Girl Donohue $10 poor to fair Alcott Louisa Little Women Saalfield $18 fair Alger Horatio In a New World M. A. Donohue $12 fair Allen Hervey Anthony Adverse Farrar and Rinehart Inc. $115 fair to good Angel Henry Practical Plane and Solid Geomerty William Collins, Sons $5 fair Appleton Victor Tom Swift and His Giant Robot Grosset & Dunlap $5 good Aquith & Bigland C.
    [Show full text]
  • Poems (1962-1997) 1St Edition Pdf, Epub, Ebook
    POEMS (1962-1997) 1ST EDITION PDF, EPUB, EBOOK Robert Lax | 9781933517766 | | | | | Poems (1962-1997) 1st edition PDF Book Published by John Sharpe, London DJ a little nicked to corners of spine panel and with a little waving to leaves. Free In-store Pickup. Lax may be one of the rare poets whose work is better read Taken individually, the poems in this collection of Robert Lax's work are intriguing, combining radical simplicity with an almost meditative use of emptiness and space to offer a style that is utterly unique. Ex school library copy, only evidence marks on endpapers where sticker has been attached and some reference numbers, and stamp on back endpaper. Item added to your basket View basket. Sort: Best Match. Book in good to fair condition, it has a good clean text so it is easy to read, with natural wear with age. In stock, Ships from Ohio. Emily Dickinson Filter Applied. Got one to sell? Lax may be one of the rare poets whose work is better read in isolation than all together in one place. Grant us now an accompanying text! November, , pp. Gudrun Grabher, Ed. Published by The Book league of America Guaranteed Delivery see all. United Kingdom. No Preference. Collectible Manga in English. Completed Items. He was writing in columns instead of lines, again as the intro points out, and this--it seems to me--makes his poetry and its layout more a matter of music Certainly not everyone's cup of tea, and not my usual poetry leanings. Milne First Edition Hardcover Published by Wordsworth Editions, Limited We have , books to choose from -- Ship within 24 hours -- Satisfaction Guaranteed!.
    [Show full text]
  • Lowney Turner Handy Library Collection (PDF)
    Department of Special Collections Cunningham Memorial Library Indiana State University BOOKS FROM THE LOWNEY TURNER HANDY LIBRARY AT THE COLONY List Prepared & Edited by David Vancil June 8, 2001 / Rev. July 30, 2001 / April 26, 2002 Lowney Turner Handy, writing teacher of James Jones and others, maintained a writing school in southern Illinois. Her teaching approach included the use of various works from her library which students had to read and copy by hand or by using a typewriter in the process of becoming familiar with accomplished writing styles. Most of the books listed below are fiction and poetry, although an occasional title in a different realm is also included. Many of the books are annotated by Handy with comments, sometimes on the pastedown, sometimes in the body of the work.. A few items, notably his own works, were gifts from James Jones. Also included in the collection are published works of other successful students, e.g., Jere Peacock., Tom Chamales, and Edwin Daly. These books were about to be discarded when Elizabeth Bevington, an antiquarian bookseller and member of the Friends of the Cunningham Memorial Library, retrieved them and donated them to the library as the Lowney Turner Handy Library Collection to be housed within the Rare Books Collection. List of Donated Books Acworth, Bernard. Swift. London: Eyre & Spottiswoode, 1947. Rare Books PR3726.A58 1947s. Dinesen, Isak. The Angelic Avengers by Pierre Andrézel. New York: Random House, 1947. Rare Books PT8175.B545 G43 1947s. Arlen, Michael. The Flying Dutchman: A Novel. New York: Doubleday, Doran & Co., 1939. Rare Books PR6001.R7 F6 1939s.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • 1998 Acquisitions
    1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Social Discourse in the Savoy Theatre's
    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
    [Show full text]
  • Judgment at Nuremberg Written By: Abby Mann
    The American Century Theater presents JUDGMENT AT NUREMBERG WRITTEN BY: ABBY MANN YOUR HONOR, THE CASE IS UNUSUAL IN THAT THE DEFENDANTS ARE CHARGED WITH CRIMES COMMITTED IN THE NAME OF THE LAW. THESE MEN, TOGETHER WITH THEIR DECEASED OR FUGITIVE COLLEAGUES, ARE THE EMBODIMENT OF WHAT PASSED FOR JUDGMENT IN THE THIRD REICH. AS JUDGES ON THE BENCH YOU WILL BE SITTING IN JUDGMENT OF JUDGES IN THE DOCK. THIS IS AS IT SHOULD BE. FOR ONLY A JUDGE KNOWS HOW MUCH MORE A COURT IS THAN A COURTROOM. IT IS A PROCESS AND A SPIRIT. IT IS THE HOUSE OF LAW. THE DE FENDANTS KNEW THIS TOO. THEY KNEW COURTROOMS WELL. THEY SAT IN THEIR BLACK ROBES. AND THEY DISTORTED AND THEY PERVERTED AND THEY DESTROYED JUSTICE AND LAW IN GERMANY. THEY ARE, PERHAPS MORE THAN OTHERS, GUILT Y OF COMPLICITY IN MURDERS, TORTURES, ATROCITIES – THE MOST CRUEL AND DEVASTATING THIS WORLD HAS EVER SEEN. THEIR MINDS WERE NOT WARPED AT AN EARLY AGE. THEY HAD ATTAINED MATURITY LONG BEFORE HITLER’S RISE TO POWER. THEY EMBRACED THE IDEOLOGIES OF THE THIRD REICH AS EDUCATED ADULTS. THEY, MOST OF ALL, SHOULD HAVE VALUED JUSTICE. HERE THEY WILL RECEIVE THE JUSTICE TH EY DENIED OTHERS. THEY WILL BE JUDGED ACCORDING TO THE EVIDENCE PRESENTED IN THIS COURTROOM. THE PROSECUTION ASKS NOTHING MORE. MAY IT PLEASE THE TRIBUNAL. IT IS NOT ONLY A GREAT HONOR BUT ALSO A GREAT CHALLENGE FOR AND ADVOCATE TO AID THIS TRIBUNAL IN ITS TASK. THE AVOWED PURPOSE OF THIS TRIBUNAL IS TO FIND A CODE OF JUSTICE THE WHOLE WORLD WILL BE RESPONSIBLE TO.
    [Show full text]
  • Recitative in the Savoy Operas
    Recitative in the Savoy Operas James Brooks Kuykendall In the early 1870s, London music publisher Boosey & Co. launched a new venture to widen its potential market. Boosey’s repertoire had been domestic music for amateur vocalists and pianists: drawing-room ballads and both piano/vocal and solo piano scores across the range of standard Downloaded from operatic repertory of the day, published always with a singing translation in English and often substituting Italian texts for works originally in French or German. Rossini, Donizetti, Bellini, and Verdi, Auber, Meyerbeer, Gounod, and Lecocq, Mozart, Beethoven, Weber, and Wagner all appeared in Boosey’s Royal Edition of Operas series, together http://mq.oxfordjournals.org/ with a handful of “English” operas by Michael William Balfe and Julius Benedict. The new effort supplemented this domestic repertory with one aimed at amateur theatricals: “Boosey & Co.’s Comic Operas and Musical Farces.” The cartouche for this series is reproduced in figure 1, shown here on the title page of Arthur Sullivan’s 1867 collaboration with Francis C. Burnand, The Contrabandista. Seven works are listed as part of the new imprint, although three by guest on May 11, 2013 of these (Gounod, Lecocq, and Offenbach’s Grand Duchess) had been issued as part of the Royal Edition. Albert Lortzing’s 1837 Zar und Zimmermann masquerades as Peter the Shipwright, and it appeared with an English text only. The new series may well have been the idea of Sullivan himself. He had been retained by Boosey since the late 1860s as one of the general editors for the Royal Edition.
    [Show full text]
  • Microfilms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has -been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Contemporary Productions of Gilbert & Sullivan's the Pirates of Penzance
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance Julia Winstead University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Winstead, Julia, "Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance" (2007). Electronic Theses and Dissertations, 2004-2019. 3414. https://stars.library.ucf.edu/etd/3414 FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN’S THE PIRATES OF PENZANCE. by JULIA COURTNEY WINSTEAD B.A. Murray State University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts & Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ABSTRACT The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D‟Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done.
    [Show full text]